Oct 29 – Nov 7 available across Canada
Oct 29 – Nov 7 available across Canada
Mon, Nov 1, 5 PM ET
Carolina Moscoso / 2019 / Spanish with English Subtitles / Chile / 80 mins / Toronto Premiere
Few challenges are harder for a first-time filmmaker than the one Carolina Moscoso set for herself: to make a film based on the rape she was the victim of eight years before, when she was a film school student. The title Visión Nocturna refers to a function that allows digital cameras to film at night, to see in the dark, by enhancing their sensitivity. In order to give form to this darkness, Moscoso coordinates two kinds of contrasting materials and narrative modes. A silent linear account, via a text printed on shots or on a dark background, establishes the naked facts of the rape and its violence, prolonged by a legal process that failed to acknowledge it and to see justice through. In the background or in the gaps of this account, the editing arranges disparate fragments out of the raw footage that she has been shooting for the past fifteen years, as a kind of diary. Joyful, carefree scenes with friends, or solitary impressions; no comment, no explanation that reveals the secret. Only by delving into the silence, and cultivating this secret, does Visión Nocturna pull off the impossible feat of sharing the unshareable. (description courtesy FIDMarseille Festival)
SCREENING WITH JULIETA Y LA LUNA / JULIETA AND THE MOON
Milena Castro Etcheberry | 2020 | Chile | 8 min | Spanish with English subtitles
Julieta’s voice tries to reconstruct the family history of sexual abuse from her childhood, traveling
through the house in which it occurred. The place seems empty; however, she comes to life with the
projection on the walls of the family archive material of the protagonist.
JOIN THE CONVERSATION: Q&A WITH Carolina Moscoso and Milena Castro Etcheberry
Please join Directors Carolina Moscoso and Milena Castro Etcheberry for a virtual Q&A to discuss
the experience of creating their haunting films. The discussion will be moderated by Tamara
Toledo, a curator and writer from Latin American-Canadian Art Projects.
Sometimes the “show must not go on” and that’s ok.
When I made the decision to not move forward with my piece Jo Don’t Go There in Rendezvous with Madness 2020, I was encouraged by my friend and contact at Workman Arts to write a short reflection for all of you in lieu of the show. Here you will find some rambling, musing, and reflecting. Thank you for taking a brief moment to reflect with me.
When I agreed to move forward with the project several months ago, I was excited by the challenge of transferring my live performance pieces to video web content. Unfortunately, I found that meeting the demands of a precarious/always changing pandemic environment made completing the project difficult. I am an artist that lives with chronic pain, Rheumatoid Arthritis, PTSD symptoms, and OCD symptoms. The greatest lesson I have learned from managing all of these is that I should not go beyond my limits. Unfortunately, working in solo-isolation and not having funding to adequately compensate others to do the much-needed-tasks to make this project show-ready was bringing me close to my limits.
Since I made the choice to pause the show, the phrase “the show must go on” has been echoing through my mind. Upon reflecting on the nagging presence of this phrase within my mind, I recall that I have, almost exclusively, operated within creative environments where that sentence is espoused. I have worked in so many creative environments where the expectation to see a show to its completion is demanded of artists, producers, and production teams: no matter the cost. My years training to be an artist and working professionally have been colored by watching many friends and colleagues sacrifice their physical and mental health to see work to its completion. For many years I have wondered if creative communities should let go of the phrase “the show much go on” and refrain from normalizing the practice of sacrificing physical and mental wellness amongst artists. What I have witnessed in theatre schools and amongst theatre makers has made me consciously attempt to avoid working myself beyond my limits so that I do not worsen my already-sometimes-very-challenging health.
So I say once again, to comfort myself and to encourage those who find themselves also facing projects, businesses, and plans that need to be put on pause, closed, or canceled as a result of the pandemic: “the show must not go on” and that’s ok.
I’d like to offer gratitude to the team who has assisted me during this process. Though the show will not be viewed in this festival, I am continuing the reflect on and develop the body of work I have made thus far. I feel I must offer my deep gratitude to all those who gave me their time and talents.
I hope you enjoy the rest of the festival, you remember to stay safe, you do what you can to support and aid the most vulnerable in our communities, you donate to groups and organizations that are trying to address the already existing racial and economic inequality within North America that has been exacerbated by the pandemic, and you all focus your energies on taking care of your immunity and your mental health while the world faces global crisis. I know I will!
I send love and gratitude to you all.
goat(h)owl theatre / Lead Artist, Performer, Creator, Writer: Oliver Jane / Collaborator, Performer: Leah Pritchard / Collaborator, Performer: Jillian Rees-Brown / Video Collaborator, Editor: Jon Jorgensen
GENRE: MULTIMEDIA, PERFORMANCE ART, THEATRE
TOPIC: ACTIVISM, ANXIETY, BI-POLAR DISORDER(S), DEPRESSION, DISABILITY, FAMILY, PSYCHIATRY, RACISM, SCHIZOPHRENIA, SEXUAL ASSAULT, SEXUAL VIOLENCE, SUICIDE, TRAUMA
Enter the mind of Jo, a nonbinary trauma survivor, video artist and clown. Meet Jo’s consciousness embodied: their performative imaginary friend Oli Oli Ennui, a snarky clown who doesn’t take all this modern art stuff too seriously. If you know Jo’s personal story (hailing from NYC, navigating OCD and PTSD while occupying space in Toronto during the pandemic), do you know Jo? If you hear Oli sing punk-injected cabaret, do you know their soul? Experience Jo’s multimedia happening: a video series, music playlists, Instagram uploads, photo exhibition and a live installation performance at 651 Dufferin Street. This collection of fragments resonates in permanent refrain: Do you know me now?
Founded by Maria Wodzinska and Oliver Jane in 2017, goat(h)owl generates collaboratively devised experiences. Grounded in the body, at the core of every piece is a question. We take flight through our investigation of the thematic territory, of our position to the question, and of our will-to-know. We attempt to affirm the unknowable with proposals — playing in-front-of/with/around an audience. We want to shake up sedimented modalities of meaning and truth-telling with our moving ensemble. We point the eye to the kaleidoscope of forms created. Do we invite the audience to make meaning? Yes. Do we make meaning? Come and see.
Loud Sounds, Mature Language, Nudity, Rape and/or Sexual Violence, Sexual Content, Suicide
Creator: Laura Shintani / A/V: Grant Padley
GENRE: INSTALLATION, INTERACTIVE
TOPIC: ACTIVISM, ADDICTION, ANXIETY, BI-POLAR DISORDER(S), BIPOC EXPERIENCE, COMMUNITY, DEPRESSION, DISABILITY, FAMILY, HARM REDUCTION, LGBTQ2S+, PSYCHIATRY, SCHIZOPHRENIA, SEXUAL ASSAULT, SEXUAL VIOLENCE, SUICIDE, TRAUMA, YOUTH
Neuroelastic is a self-activated artistic performance. Taking a cue from the well-known concept of Dr. Norman Doidge’s neuroplasticity, it is inspiring that the mind can adapt in new ways. The artist imagined an idea; by wrapping oneself in streams of coloured synaptic “bandages” this symbolic act can allow thoughts and feelings to show on the outside. Using photography as documentation, a capture of the moment reveals what is hidden. This artwork of self-permission reflects on not only the unseen being seen, but that it can be changed. This collection of images I hope can read as a zany family album of the mind. Neuroelastic is an interior selfie and an invitation to an altered way of being.
Laura Shintani is a Toronto-based multimedia artist who creates work in order to provoke questions in artistic forms. Shintani represents a hybrid of work, art making, study and teaching. She is interested in seeing people embrace the cycle of creativity: playing, problem solving and reflecting. Raised in small-town Ontario, Shintani later studied fashion design at Ryerson University and received a degree from the University of Toronto. After personal discovery she made art a vocation and earned a Master of Fine Art from the University of Windsor. Shintani’s most significant exhibition was at the Royal Ontario Museum in 2019.
This artist has interactive materials which will be provided in the RWM swag bag in order to interact with their virtual content. All ticket holders will be invited to receive RWM swag bags available for free curbside pickup during festival hours.
Photos by Henry Chang
Please Note: There is one virtual ticket available for the entire Re:Building Resilience Exhibition. Whether you’d like to see one project or all of them, you only need to book one ticket to access everything. The exhibition runs October 15-25, and all ticket purchasers will be sent a link to view the virtual content. Any ticket bought prior to October 15 will receive a follow up email on the 15th with the link.
Self-Care Kits are available for free curbside pickup to ticket holders. Kits can be picked up from 651 Dufferin Street between the hours of 10AM-9PM, October 15-25. If pickup is not an accessible option for you, contact firstname.lastname@example.org for accommodation.
Co-Creator and Curator: Alexandra Caprara / Co-Creator: Raechel Kula
GENRE: INSTALLATION, INTERACTIVE, MULTIMEDIA, POETRY, VISUAL ART
TOPIC: COMMUNITY, SEXUAL VIOLENCE, TRAUMA
ThreadBare is an interactive textile installation that centers the voices of survivors of sexual and domestic violence and abuse. The piece features a collection of poetry and prose submitted by survivors, sewn into clothing and fabric and interwoven within the piece. Audiences are invited to observe and interact with the structure, which responds to movement using lighting and sound. This piece was created to elevate the stories and experiences of survivors through the repurposing of fabric and clothing and aims to foster conversation, reflection and a shared sense of solidarity and hope.
Alexandra Caprara is a multidisciplinary artist and writer from Toronto. She is a graduate from York University’s Theatre and Creative Writing programs and has worked internationally as a designer and director.
Raechel E. Kula is a multi-disciplinary artist with a background in software and information technology. She brings a systems approach to the dramaturgy and design of interactive and performative works for live audiences.
Rape and/or Sexual Violence
Photos by Henry Chang
Please Note: There is one virtual ticket available for the entire Re:Building Resilience Exhibition. Whether you’d like to see one project or all of them, you only need to book one ticket to access everything. The exhibition runs October 15-25, and all purchasers will be sent a link to view the virtual content. Any ticket bought prior to October 15 will receive a follow up email on the 15th with the link.
Join Alexandra Caprara and Raechel Kula on Tues, Oct 20 at 3PM for an Instagram Live event to interact in real-time as they walk you through their artwork and answer your questions. Follow @workmanartsto to get notified when we go live.
ASL Interpreted, Active Listener
An Active Listener will be available Tues, Oct 20 from 3-5pm to support this program.
Your active listener for this program is Kat.
You can connect with Kat by phone (talk or text) at (647) 474-2338 or by email at email@example.com.
Self-Care Kits are available for free curbside pickup to ticket holders. Kits can be picked up from 651 Dufferin Street between the hours of 12PM-9PM, October 15-25. If pickup is not an accessible option for you, contact firstname.lastname@example.org for accommodation.
Alexandra Caprara and Raechel Kula will be participating in the virtual panel discussion Literary Balms: the Healing Properties of Art and Text on October 19, at 4 PM. Click here to book a ticket.
Yolande Zauberman / 2018 / Yiddish, Hebrew, English with English Subtitles / France / 115 min / Ontario Premiere
TOPIC: SEXUAL VIOLENCE, TRAUMA
Menahem Lang is an Israeli actor with a tragic past. He was raped as a child by several older men from his own community. Lang grew up in the Haredi sect, an ultra-Orthodox Jewish community known for its theological conservatism. After confronting one of his abusers, Lang left his hometown of Bnei Brak and hasn’t been back until now. In M, Lang returns to face his community, his trauma and to seek justice. But more than anything, Lang ends up finding other survivors. Shooting her film entirely at night, director Yolande Zauberman follows Lang as he runs into multiple strangers on the streets of his old neighborhood where they all confess the same thing – they were also sexually abused as children by older men in the community. Through many candid interviews in M we learn that child molestation is rampant in their community, turning the abused into abusers in a vicious circle of sexual violence.
Extended Panel: Childhood Sexual Abuse & Recovery
Join us for an extended discussion following the screening of the documentary M, as we are joined by specialists who work in trauma informed care, childhood sexual abuse and sexuality studies. We will sensitively discuss the realities and impacts of (early) sexual abuse, the complexities of finding treatment and the journey of recovery in the context of observant communities as well as in more secular contexts.
Beryl Magoko / 2018 / German and Swahili with English Subtitles / Germany, Kenya / 90 min / Toronto Premiere
TOPIC: SEXUAL VIOLENCE, TRAUMA, WOMEN'S ISSUES
Director Beryl Magoko underwent Female Genital Mutilation (FGM) as a child. Unlike many of her peers, she wasn’t forced into it. Feeling pressured by societal expectations, Beryl went through FGM behind her mother’s back. Nobody told her about the pain, guilt and trauma that would follow her into adulthood. Years later, Beryl learns that her FGM can be reversed with the help of reconstructive surgery. But after everything she has been through, she’s hesitant to make a decision. “Will I be making another terrible mistake?” In her documentary account, Beryl is searching for an answer. She asks other women who survived FGM about their experiences and thoughts on reconstructive surgery. By frontlining these stories, Beryl processes her trauma and exposes the extreme misogynist ideologies behind FGM.
Erika MacPherson, Katherena Vermette | 2016 | Canada | 19 min
Kyle Kematch and award-winning writer Katherena Vermette offer an Indigenous perspective on the devastating experience of searching for loved ones who have disappeared. Born out of the need to do something, their stories ignite a relationship between resilience and activism.
Q&A with Beryl Magoko
Following the screening of In Search…, join the filmmaker (who is also the subject of the documentary) Beryl Magoko as she discusses working on the film which recounts her journey with reconstructive surgery after surviving Female Genital Mutilation (FGM) as a child.